Painting as a battleground in Judas Arrieta. by David Barro

At first glance, it seems that everything fits into the pictures of Judas
Arrieta.But if you give them a closer look reveal a series of
obsessions that are twisted and repeated in a sort of apocalyptic upheaval.Judas Arrieta absorbs everything around him and he exudes a kind of neo-baroque painting style, tending to the extreme and the overflow of the subject.Hence from there, when dealing with a logo represents it with a humor transformation as
(Cora-Cola, Carre4, filmux ...) and when he tries to rescue a motto he will pervert it as (Basta llar!).Because if anything characterizes his work it is that limb which embraces the hybrid and fixed from a philosophy of disorder, from an aesthetic of
chaos.

Perhaps curious, however, about his choice of references. On the one hand, characters of
cartoons of the Spain of the nineties, such as Doraemon, Pokemon, Son Goku, or even the Simpsons.For another hand nostalgic characters from before the arrival of the manga, like Mazinger, Woody Woodpecker, Felix the Cat, Heidi or Chicho
Terremoto.It is definitely a painting that results in a present
that the postmodernism has defined it more of the past than from the future.Judas Arrieta makes something like a nostalgia for the present with a futuristic work, however, it is meant as a setback, as passion retro that spits at us one truth to our
face, the truth of always having the future in the past.

This imagery allows you to mix manga with Communist Chinese aesthetics and advertising
icons of consumer society to decline a political work, an affirmation of some references.The result is a dramatic work, full of cuts, overlapping, as a kind of palimpsest.A box-shaped field, almost wild, full of overlapping and distorted perspectives, scale games, strains
and twists.A dense surface of information, sometimes delirious, but
I still used to discuss internal aesthetics of painting itself not to mention the process.And we talked about painting, yes, because Judas Arrieta in the pictorial, the action of painting itself, still remains vital as the image
generating process.

The painting, pop culture, the Japanese comic, drawing, but especially the fusion of
different folk elements from different cultures, are declined, as this book, like a palindrome that allows different interpretations and ways to address these readings.As in Godard's film La Chinoise ideological, political and social issues intersect, as we
cross the socialism and barbarism. The eclecticism of the popular, whether from Chinese culture references or the Basque and its intention to reinvent itself in every work, speaks of a universe
capable of working and enhance the laughable fiction since, embracing all personal referents to produce work that is formed from the generations, from desire, from the impossible in a babel of
images.

绘画如身临战场 by David Barro.

All in one (Maggie Cheung) 24x18cm mixed media on hand made paper 2011